Bold, minimalist style meets multitudinous tones.
Solid build. Great onboard active EQ. Ultra-comfortable neck. Rock star looks.
A passive tone control would be nice. Limited paint options
$949
Charvel Pro-Mod San Dimas PJ IV
charvel.com
For a large part of the guitar-playing population, seeing "Charvel" on a headstock inevitably leads to thoughts of over-the-top paint jobs and Floyd Rose tremolos. And while Charvel built great instruments for use outside the shred realm, traditionally shaped bass guitars are probably not the first thing you associate with the brand.
Prior to this review, my only impression of Charvel as a bass builder was hearing about Lee Sklar going to the Charvel shop in the '70s to pick out the body for his legendary P-style bass—the instrument that eventually became "one of the most recorded basses in history" in his own estimation. That's not an inconsequential bass legacy. And the Pro-Mod San Dimas PJ IV certainly feels like it's built from that substantial foundation.
A Lot of Flash With a Little Bit of Cream
Charvel began as a high-end repair and custom shop in Los Angeles. During its '80s heyday, the brand was owned by Jackson. But since 2002 Charvel has been part of the Fender family, and the visual influence of the parent company shows through here.
The first thing that struck me about the Pro-Mod San Dimas was an immediate feeling of deep affection for the vintage DiMarzio cream pickup covers—a classy statement on any instrument no matter the paint scheme that transports me to the time I first picked up a bass. The second thing I thought was, "Holy smokes, this bass is very green!!" (In addition to the lime green metallic finish on our review model, the 4-string version also comes in a more sedate mystic blue).
The roasted maple that makes up the neck, 12"-16" compound-radius fretboard, and headstock give this traditionally shaped bass a unique, understated look that's a nice contrast to the bold green finish.
Precision Re-imagination
You can make a lot of sounds with any good P/J setup. But you can cover a lot of extra mileage with what this race car has under the hood. The San Dimas PJ IV features DiMarzio Model J DP123 and Model P DP122 pickups in the bridge and neck respectively, a 3-band active treble/mid/bass boost/cut tone control array equipped with a push/pull switch for passive operation, as well as pickup balance and master volume controls. The slim C-neck is graphite reinforced, features convenient heel access to the truss rod adjustment wheel, and has very nice rolled edges, which makes the neck feel even slimmer. Luminous fretboard side dots are a suitably flashy but practical finishing touch.
The Charvel communicates quite a bit more midrange information than most other P/J setups.
Simple Lines, Multiple Tones
The best, simplest way to describe the Pro-Mod's sound with both pickups all the way up and the active tone stack engaged is full. There's a distinctive piano-like zing in the high end and a very firm, solid low end that doesn't come across as too modern or too stiff. The output is impressively even across the neck and in all registers. One reason for the balanced output is the reverse-P pickup (with the bass segment of the split pickup shifted closer to the bridge). The setup helps the first and second strings ring with authority and lends a very strong low-end presence. The overall voice of the instrument is distinctly P/J, but with some of a Spector's extra punchy top and low end on tap. The bass also feelsincredibly solid. The high mass bridge adds sustain and helps create a sense of playing a neck-thru instrument when bending or playing aggressively.
Coaxing a more vintage-style voice out of this speed racer is as easy as engaging the passive circuit and grabbing a pick. A slightly softer voice emerges, but it's filled with personality. Playing with a pick in passive configuration also reveals that the Charvel communicates quite a bit more midrange information than most other P/J setups. Although the midrange overall is strong, it's easy to use the active EQ to scoop some out, but there is no tone control in passive operation. However, in this mode the Charvel rewarded me with a hot-rodded J-bass-style slap tone that's a great addition to any bassist's bag of tricks and well-suited to the slim, fast neck.
The Verdict
For some, the look of the Charvel Pro-Mod San Dimas PJ IV will be enough to evoke stereotypical associations with hair spray and the Sunset Strip circa '86. But this bass is much more than a flashy finish. It's one of the most well-built and versatile examples I have played in a very long time. All the Pro-Mod features are player-oriented additions that make sense rather than feeling like sales gimmicks. At less than a thousand bucks, the Pro-Mod San Dimas PJ IV provides pro-level playability, quality feel, and a tone palette that you typically hear from instruments priced two or three times higher.
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Restoring a Romantic-Era Acoustic with Ties to the U.S. Presidency
These before (left) and after (right) shots demonstrate only a fraction of the restoration process our columnist carried out.
This centuries-old instrument, which belonged to the daughter-in-law of President Andrew Jackson, has witnessed almost 200 years of American history.
We tend to think of “history” as something we read about or learn from our elders, rather than something we live and contribute to. I’ve often wondered if my great-uncle knew he was making history when, as a Mexican immigrant, he built the original Mickey Mouse guitar for Walt Disney in the early 1950s.
Last year, I was contacted by Jennifer Schmidt, the collections manager at Andrew Jackson’s Hermitage. They were seeking a grant with the hopes of restoring an acoustic guitar on the property. It was the guitar that was owned by Sarah Yorke Jackson, White House hostess and acting first lady of the United States from November 1834 to March 1837, and daughter-in-law to America’s seventh president, Andrew Jackson. The Hermitage is the historic home of President Andrew Jackson located in a neighborhood just east of metropolitan Nashville.
When I arrived at the home to inspect the guitar, it was leaning against a chair in the living room, in desperate need of repair. It had been “restored” previously by a violin luthier in 1983, and while their work helped sustain the shape of the instrument, there were many repairs that had been done incorrectly.
I quickly saw that this was going to be a combination of a restoration and preservation project. There was a history written up on the guitar, but I believe it to be incorrectly documented that the luthier was Cabasse-Visnaire l'Aîné, who worked in the Mirecourt region of France during the early 1800s. Despite bearing some similarities, later guitars that are credited to Cabasse-Visnaire have a different style in building.
Based on the design, I believe the instrument was crafted by Petitjean l'Aîné in 1817. Another luthier from the region, Didier Nicolas l'Aîné, was also active in that period, but there are differences in his building decisions that have led me to this belief. Didier was known for his one-piece maple backs on his guitars, while Petitjean l'Aîné was known for laminating the backs of his guitars, and this guitar has a spruce back with a laminate. He also built in a style that was complementary to Didier—a nice way of saying he appears to copy his style in headstock and design.
“I couldn’t stop thinking of the story this instrument could tell—all it had endured and been privy to, the suffering it witnessed and the joy it gave.”
This guitar is considered a “Romantic” guitar, made during the era of 1790 to 1830. It features a Norway spruce top, most likely harvested in the French alps. The fretboard is African ebony, with a 646 mm scale. The back is laminated spruce and the sides are rosewood, with the outer laminate appearing to be pearwood.
The guitar needed a great amount of work. The issues and repairs included top cracks, loose perfling and braces, bridge lifting, binding and inlay missing, separated back, missing and incorrect frets, neck reset, missing top-hat pegs, and, to top it off, a fretboard held on by Scotch tape. When the instrument was finally delivered to us, it took several months before I could clear my schedule to dedicate time to the repair. The repair itself took several weeks to complete, but I couldn’t stop thinking of the story this instrument could tell—all it had endured and been privy to, the suffering it witnessed and the joy it gave to either Sarah while she played it or the audience she may have played it for. As musicians, we all tend to think beyond just the physical attributes of a musical instrument. We use words like feel, touch, voice, warmth. We use these terms because the instrument is expressing something that we lack the words or ability to express without it.
This guitar lived through the formation of the Democratic Party, the origins of the Spoils System, and the Indian Removal Act, which created the Trail of Tears. All of the pain and suffering, as well as the victories and joys, that were absorbed into this instrument have shaped its sound and presence, and to think that it crossed my path, a first-generation Mexican-American born in the United States. I am honored at the opportunity to help preserve a small piece of our American history.
I have worked on countless instruments that have historic musical relevance, but this guitar was different. We have a tagline for Delgado Guitars: “Does your guitar have a story?” I created this tagline because I believe every person has a valuable and important story to tell. Now, I’m grateful to have helped preserve this amazing guitar for future generations to see as they visit the Hermitage. I even built a custom stand from wood that came from the property. You can see more of the steps in the restoration on our social media pages if interested, but if you find yourself in Nashville, please stop by the Hermitage and pay it a visit. It might inspire you to share your story.
David Gilmour releases a special live version of the "The Piper's Call" from his solo album Luck and Strange.
"The Piper's Call Live Around The World" is a digital only release and was recorded at The Brighton Centre, Circus Maximus in Rome, the Royal Albert Hall in London, the Intuit Dome in Los Angeles and Madison Square Garden in New York and edited together by Gilmour, Charlie Andrew and Matt Glasbey to form one seamless track recorded throughout the Luck and Strange tour.
David Gilmour “On the Luck and Strange tour, I played with the best band I've ever had. Their personalities, playing abilities and enthusiasm for my new music have made for a fabulous experience for Polly and me. Romany's voice really stands out and has its own particular character, she brings a sense of mischief and fun to the live performance, which I think we needed. Thank you to everyone who attended the shows in Europe and America and thank you for buying 'Luck and Strange’. I hope you found as much enjoyment in the music as we did while performing it.”
Luck and Strange was recorded over five months in Brighton and London and is Gilmour's first album of new material in nine years. The record was produced by David and Charlie Andrew, best known for his work with alt-J and Marika Hackman. The album features nine tracks, including the singles' The Piper's Call', 'Dark And Velvet Nights', and a beautiful reworking of The Montgolfier Brothers' 1999 song, 'Between Two Points,' which features 22-year-old Romany Gilmour on vocals and harp; the lead-off track, 'The Piper's Call,' and the title track, which features the late Pink Floyd keyboard player Richard Wright, recorded in 2007 at a jam in a barn at David's house. The album features artwork and photography by the renowned artist Anton Corbijn.
The Luck and Strange tour began with two sold-out warm-up shows at the Brighton Centre before moving to Circus Maximus in Rome for six sold-out nights, followed by the same about at London's Royal Albert Hall before moving Stateside for sold-out evenings at the Intuit Dome and Hollywood Bowl in Los Angeles before concluding with five sold-out nights at Madison Square Garden in New York.
Learn more: www.davidgilmour.com.
The range of clean, dirty, and complex tones available from this high-quality, carefully crafted Dumble modeler make it a formidable studio and performance device.
Fantastic variation in many delicious sounds makes it a bargain. High-quality. Easy to use and customize. Killer studio path to lively, responsive guitar sounds.
Price may be hard for some to swallow if they don’t leverage the whole of its potential.
$399
UAFX Enigmatic ’82 Overdrive Special
uaudio.com
I’ve never played a realDumble. I’d venture most of us haven’t. But given my experiences with James Santiago’s UAFX modeling pedals, most recently theUAFX Lion, I plugged in the new Dumble-inspired UAFX Enigmatic confident I’d taste at least the essence of that very rare elixir. You could argue there is no definitive Dumble sound. Each was customized to some extent for the customer, and they are renowned nearly as much for dynamic responsiveness and flexibility as their singing, complex, clean-to-dirty palettes.
The Enigmatic nails the flexibility, for sure. To my ears, its tone foundation lives somewhere on a sliver of Venn diagram where a black-panel Fender and a 50-watt Hiwatt intersect. It’s alive, dimensional, snappy, sparkly, massive, and, at the right EQ settings, hot and excitable. But the Enigmatic’s powerful EQ and gain controls, multiple virtual cab and mic pairings, rock, jazz, and custom voices, plus additional deep, bright, and presence controls enable you to travel many leagues from that fundamental tone. The customization work you can do in the app enables significant changes in the Enigmatic’s tone profile and responsiveness, too. All these observations are made tracking the Enigmatic straight to a DAW—making the breadth of its personality even more impressive. But the Enigmatic sounds every bit as lively at the front end of an amp, and black-panel Fenders are a primo pairing for its saturation and sparkly attributes. The Enigmatic is nearly $400, which is an investment. But considering the ground I covered in just a few days with it, and the quality and variety of sounds I could conjure with the unit just sitting on my desk, the performance-to-price ratio struck me as very favorable indeed.
Lollar Pickups introduces the Deluxe Foil humbucker, a medium-output pickup with a bright, punchy tone and wide frequency range. Featuring a unique retro design and 4-conductor lead wires for versatile wiring options, the Deluxe Foil is a drop-in replacement for Wide Range Humbuckers.
Based on Lollar’s popular single-coil Gold Foil design, the new Deluxe Foil has the same footprint as Lollar’s Regal humbucker - as well as the Fender Wide Range Humbucker – and it’s a drop-in replacement for any guitar routed for Wide Range Humbuckers such as the Telecaster Deluxe/Custom, ’72-style Tele Thinline and Starcaster.
Lollar’s Deluxe Foil is a medium-output humbucker that delivers a bright and punchy tone, with a glassy top end, plenty of shimmer, rich harmonic content, and expressive dynamic touch-sensitivity. Its larger dual-coil design allows the Deluxe Foil to capture a wider frequency range than many other pickup types, giving the pickup a full yet well-balanced voice with plenty of clarity and articulation.
The pickup comes with 4-conductor lead wires, so you can utilize split-coil wiring in addition to humbucker configuration. Its split-coil sound is a true representation of Lollar’s single-coil Gold Foil, giving players a huge variety of inspiring and musical sounds.
The Deluxe Foil’s great tone is mirrored by its evocative retro look: the cover design is based around mirror images of the “L” in the Lollar logo. Since the gold foil pickup design doesn’t require visible polepieces, Lollartook advantage of the opportunity to create a humbucker that looks as memorable as it sounds.
Deluxe Foil humbucker features include:
- 4-conductor lead wire for maximum flexibility in wiring/switching
- Medium output suited to a vast range of music styles
- Average DC resistance: Bridge 11.9k, Neck 10.5k
- Recommended Potentiometers: 500k
- Recommended Capacitor: 0.022μF
The Lollar Deluxe Foil is available for bridge and neck positions, in nickel, chrome, or gold cover finishes. Pricing is $225 per pickup ($235 for gold cover option).
For more information visit lollarguitars.com.